is on the studio gear of liam! more
is on the studio gear of liam!
liam says: ''No plugins here'' more
liam says: ''No plugins here''
Liam uses it at the live shows and of course in the studio. Classic broadcas... more
Liam uses it at the live shows and of course in the studio. Classic broadcast quality professional sampler from AKAI. Very versatile machine with excellent dynamic range, filter and timestretch capabilities (timestretch to 2000%). Excellent sample / program editing functions. 16-bit linear encoding. 32 voice polyphonic. Digital moving low-pass filter (-12dB/octave with resonance). Balanced inputs on 1/4" phono. Backlit LCD display (320 characters/240x640). Max sample time: 44.56s (using unexpanded memory). 2MB onboard memory expandable to 16MB using standard SIMMS.
Liam has stored the live stuff in 2 Akai S1110 samplers! These babies can be ... more
Liam has stored the live stuff in 2 Akai S1110 samplers! These babies can be shown in his equipment rack that he uses for live shows. Liam uses it at live shows and of course in the studio.
"The original hip-hop drum machine. That is fat! I'm really into the hip-hop ... more
"The original hip-hop drum machine. That is fat! I'm really into the hip-hop scene, and did a lot of research into the equipment they used to get that real heavy sound. A guy from our record company went to New York and got this for me for my birthday; it was a really good present. It's so nice, just for single drum hits." – Liam Howlett, from a 1996 interview with Sound On Sound.
Liam uses it in the live shows! Sampling System 16 bit linear Sampl... more
Liam uses it in the live shows!
Sampling System 16 bit linear Sampling Rates 44.1 kHz / 22.05 kHz Memory 16 MB (standard) / 32 MB ROM + 16 MB ROM (expanded) Polyphony 32 voices Maximum Samples 255 Maximum Programs 254 Recording Gain HI = -58 dBm / MID = -38 dBm / LOW = -18 dBm Filters Digital moving low-pass filter (-12 dB/octave with resonance) Envelope Generators 2 (1 multi-stage) LFOs 2 Hard Disk Recording Provided Effects Echo/Chorus/Pitch Shift/Delay/Reverb Display Back-lit 40 x 8 characters (640 x 240 dots) Help Pages Provided Storage Devices 3.5-inch 2HD/2DD floppy disk 3.5-inch hard disk (optional) internally mountable 3.5-inch MO disk drive (optional) internally mountable Standard Inputs XLR (balanced) x 2, 1/4-inch phone jack (balanced) x 2 Standard Outputs XLR (balanced) x 2, 1/4-inch phone jack (unbalanced) x 2 Assignable Outputs 1/4-inch phone jack (unbalanced) x 8 Headphones 1/4-inch stereo phone jack x 1 Footswitch 1/4-inch phone jack x 1 MIDI DIN-5P IN x 1, OUT x 1, THRU x 1 SCSI Provided S/PDIF Digital In/Out Provided SMPTE Reader/Generator Provided Power Requirements 120VAC 60Hz 45W / 220-240VAC 50Hz 45W Dimensions 483mm x 133mm x 429mm (W x H x D) (EIA 3U size) Weight 8.8 kg
Some info: Polyphony: 128 MIDI Support: Yes Effect Processer: Optional Sa... more
Some info: Polyphony: 128 MIDI Support: Yes Effect Processer: Optional Samples: Yes Sample Bit rate: 16 Memory (RAM): SIMM 72pin, max. 256Mb, min. 8Mb DAC: Yes DAC Bit Rate: 18 Sample Rate (in/out): 44.1kHz, 48kHz Year: 1998 HDD recording: Yes Other Technogies: Assignable Program Modulation, Direct sample audition, Virtual Samples Other: ASCII-keyboard (PS/2), SCSI, ZIP, FDD
OverEasy® or classic hard knee compression with dbx's ultra-musical program d... more
OverEasy® or classic hard knee compression with dbx's ultra-musical program dependent attack and release times Compression Ratio variable from 1:1 through infinity :1 to negative compression Precision dual RMS LED display monitors input or output and gain reduction over a wide range and calibrates for different operating levels Over 60 dB of gain reduction available Exclusive Infinity+ compression allows negative compression lndependent balanced and unbalanced outputs can drive 600 loads to +24dBm simultaneously. New floating balanced output stage drives any load Strappable with another 160A for true RMS stereo summing operat
Machine info: This mixer is designed for maximum flexibility. It features 16... more
Machine info: This mixer is designed for maximum flexibility. It features 16 XLR Mic, 1/4" Line inputs. It is perfect for larger exhibit booth demonstration areas. The 1604 is also an excellent choice for meeting applications where a number of mics, and audio sources need to be mixed together.
Used: Liam always uses this mixer in live shows.
"I take a Mackie 1604 out live. As far as I'm concerned, Mackie are the best desks for dance production. I had a Tascam 32 channel, and I sold it to Shades Of Rhythm, and I had done as much as I could do with it. Mackie has much more headroom. I went from a 16 channel Mackie to buying that Tascam and after a year, I still couldn't get a good sound out of it. So I went back to basics - like two 16 channel Mackies. Then I was happy again!" .
Inputs Channels 1-16 XLR Mic, 1/4" Balanced/Unbalanced Line Level Insert 1/4" Balanced/Unbalanced Line inputs Other inputs Tape in (dual RCA) Main Insert (L & R)1/4". Balanced/Unbalanced line level (4) Aux returns (L & R)1/4". Balanced/Unbalanced line level Outputs Main outs Left, Right, Mono 1/4" Balanced/Unbalanced Line Level (4) Sub Outs 1/4" Balanced/Unbalanced Line Level Other outputs Tape record out (dual RCA), (6) Aux sends 1/4" Balanced/Unbalanced line level (8) Direct Outs 1/4" Balanced/Unbalanced Line Level Width 442mm (17.3") Depth 447mm (17.6") Weight 9.1kg (20 lb) Power Requirements 120V 60hz 50w
Product Description from Mackie: The Onyx 1220, 1620 and 1640 start with a... more
Product Description from Mackie:
The Onyx 1220, 1620 and 1640 start with all-new premium analog circuitry, setting new standards for high-headroom, low-noise operation. Next up are Mackie's new Onyx mic preamps, which meet or surpass expensive esoteric standalone mic preamps in terms of fidelity and transparency. Then there's the completely new Perkins EQ circuitry, a 'neo classic' 3- and 4-band design which gives you the sweet musicality of British EQ with greater filter control and minimum phase shift (plus a true hardware EQ bypass). And all this analog innovation is rounded out by a new Aux section w/ individual Pre/Post control, plus a new Talkback section with built-in mic for easy studio communication.
In addition to balanced direct outputs on every channel via dual DB-25 connectors (a first for any small-format analog mixer), you can outfit each Onyx mixer with an optional FireWire I/O card, which lets you stream either 12 or 16 independent channels of 24-bit/96k audio, plus a stereo mix, directly to your Mac or PC. You can also monitor a stereo mix via FireWire from your computer, making the Onyx Series mixers superb audio interfaces to your digital world... or any other world you plan to rule.
Premium 16-channel small-format analog mixer with all-new circuitry 8 new ONYX mic preamps with sound comparable to boutique preamps New 4-band Perkins EQ with dual sweepable midrange controls provides warmer, more musical sound.
Manley is the only authorized user of the original Western Electric passive E... more
Manley is the only authorized user of the original Western Electric passive EQ circuitry previously licensed to Pulse Techniques, Inc. found in the well-known (and still sought after in the used market) antique Pultecs. Manley's 'enhanced' Pultec EQs deliver the same sweet sound and control, but with modern circuitry that sets new standards in today's contemporary recording facilities. You can set the EQ to 'flat' positions or bypass it entirely. All boost and cut controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. The single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. The rear mounted input switch selects 0 degrees or 180 degrees phase invert for the balanced gold pin XLR input, or you can select the transformerless unbalanced bridging input (1/4" jack). All Enhanced Pultec models feature balanced XLR and 1/4" Hi-Z inputs, and balanced XLR outputs.
Specification Detail Analog Inputs XLR, TS Analog Outputs XLR, TS Circuit Tube Digital Inputs No Digital Outputs No EQ Bands 3 Bands EQ Type 2 swept mid bands plus swept Hi cut Freq. Response 20 Hz - 20 KHz Kind Parametric Linkable No Notes Can be used transformerless Rack Height 1 rack unit Sidechain No Total Channels 1
Roland MC-505 Groovebox Professional Groovebox featuring high-performance so... more
Roland MC-505 Groovebox Professional Groovebox featuring high-performance sound engine: 64 Voice polyphony realtime sound controls, 3 independent processors yeilding ultra powerful effects. Steeper multi-mode resonant filters, front-panel ADSR envelope controls Revolutionary D-Beam Controller allows for effects and sound/note control via hand movement over infrared light beam 714 onboard dance music patterns developed by cutting-edge sound designers worldwide 512 built-in sounds and 26 rhythm sets, including the latest dance, hip-hop and techno music sounds and classic drum and synth sounds (TB-303, TR-808, JUNO, Jupiter, etc.)
Three independent, synchronizable effects processors with powerful new effects; onboard Arpeggiator MEGAMIX function allows for intuitive pattern creation by combining rhythms and parts of one pattern with another Enhanced MIDI implementation; powerful sequencer section with increased note storage; multiple outputs (3 stereo/6 mono); new assignable Part Mixer sliders SmartMedia slot accepts external 2MB and 4MB SmartMedia cards for unlimited pattern and patch storage and direct pattern playback. 95,000 note memory.
Roland SP-808 Groove Sampler About: This is one of the many gifts from th... more
Roland SP-808 Groove Sampler About:
This is one of the many gifts from the Roland for Liam. I don't know if Liam has used this.. he prefer more old stuff made before 1980, but this one is really cool toy for anyone, so maybe he can find some use for this machine too. Gear info:
The SP-808 Groove Sampler is the first product of its kind a sampling and recording workstation which is one part professional-quality phrase sampler; one part hard disk audio recorder. Developed to meet the needs of a growing "remix" and sampling-based music market, the SP-808 provides everything DJ's, sampling musicians and remix artists need. Remix-orientated phrase sampler/hard disk audio recorder w/8-tracks (4 stereo) digital multitracker -16 assignable sample pads per bank (64 banks total) -Internal zip drive records all audio tracks & stores all samples on removable 100 mb zip disks. 64 minutes/1024 samples can be stored on a single disk. -Automatic tempo calculation and display plus resampling time stretch functions. -On-board effects (reverb,chorus & delay effects plus "Lo-fi","Wah","Isolator", & synth effects -D-Beam controller -Realtime effects control (3 assignable knobs) -Can also be used as a digital multi tracker recorder.
Professional remix-oriented phrase sampler/hard disk audio recorder with 8 tracks (4 stereo audio tracks) and 16 assignable sample pads per bank (64 banks total) Built-in ZipT drive records all audio tracks and stores all samples on removable 100MB Zip disks; 64 minutes/1024 samples can be stored on a single disk for instant access Automatic tempo calculation and display, resampling functions and time stretch functions Onboard Roland reverb, chorus and delay effects including Delay RSS, Space Echo and Flanger, as well as Distortion, "Lo-fi," "Wah," "Band Isolator" and analog synth processing Onboard Step Modulator effect simulates a classic Roland analog synth, modulating pitch, LFO, etc. in sequential steps Revolutionary dual D-Beam* Controller allows for effects and sample control via hand and body movement over infrared light beam Three assignable real-time control knobs for effects control Can be used as a basic digital multi-track recorder Four analog outputs standard; optional I/O board transfers all audio in the digital domain and provides 6 additional analog outputs Backlit LCD, buttons and LED for use in low-light settings
Relase date: 1998 Type: Sampler/sequencer/hard disk recorder/virtual analogue synth/effects processor ALL IN ONE!
Roland TR-707 Rythm Composer The Roland TR-707 Rhythm Composer is a programm... more
Roland TR-707 Rythm Composer The Roland TR-707 Rhythm Composer is a programmable digital sampling drum machine built by the Roland Corporation, beginning in 1984. The TR-707 was a staple in early house music, particularly with acid house. Because the TR-707 offers a limited number of instruments sampled at 12 bits, its sound is considered dated by modern standards. However, it is still in use because of its versatility in synchronizing with other hardware and its fully featured interface, comparable to that of high-end Roland drum machines such as the TR-808 and TR-909.
Liam has told that this machine was used to produce drums for Invaders Must Die single. He has probably used it also in many more older tracks too.
Roland TR-808 Rythm Composer The first normal looking drum machine Roland TR... more
Roland TR-808 Rythm Composer The first normal looking drum machine Roland TR-808 Rhythm Composer was also one of the first programmable drum machines at the time. Introduced by the Roland Corporation in early 1980, it was originally manufactured for use as a tool for studio musicians to create demos. Like earlier Roland drum machines, it does not sound very much like a real drum kit.
Drum machines in general became an integral part of rap music as a cheap and simple way of producing a drum sound. The Roland TR-808 held specific appeal because of the ability of its bass drum sound to produce extremely low-frequency sounds. It's 100% analogue and is still proclaimed to having the best clap. It's also very famous for it's good marracas sounds.
Pandemonium, Ruff in the Jungle Bizness and many more older tracks.
Roland TR-909 Rhythm Composer The Roland TR-909 Rhythm Composer is a partia... more
Roland TR-909 Rhythm Composer The Roland TR-909 Rhythm Composer is a partially analog, partially sample-based, drum machine introduced by the Japanese Roland Corporation in 1983. The brainchild of Tadao Kikumoto, the engineer behind the Roland TB-303, it features a 16-step step sequencer and a drum kit that aimed for realism and cost-effectiveness. It is fully programmable, and like its predecessor, the TR-808, it can store entire songs with multiple sections, as opposed to simply storing patterns. It was the first MIDI-equipped drum machine. Around 10,000 units were produced.
All drums except for the hi-hats and cymbals are synthetically generated; there is an oscillator circuit with a dedicated filter and envelope curve. The hi-hats and cymbals are 6-bit samples, compressed and combined with a volume envelope curve (and tuning) to allow slight modification. Thanks to the analog circuitry, various aspects of the drum sound can be modified (pitch, attack, decay).
There is also a feature called "accent"—a primitive means of humanizing the drumbeat. In a simplified model of a drummer and a kit, the loudness of the sound created would basically depend on the velocity at which the drummer hits a given part of the kit. A human drummer can emphasize certain notes by playing them louder, and the accent parameter provides a means to boost a particular step.
Part of the charm of the TR-909 comes from its 16-step sequencer — the 16 buttons along the bottom of the interface correspond to the 16th notes of a single bar in 4/4 meter. For example, punching the buttons 1, 5, 9 and 13 on the bass drum part would create a simple "four to the floor" beat. Multiple patterns can be grouped or chained together which allows the user to create drum patterns that are longer than one bar in length or, alternatively, create drum patterns in compound meters outside of 3/4 or 4/4. While the sequencer is running, a light runs from step 1 to step 16.
This machine is used most of the common dance tracks and you can almost say that this is the standard House and Techno beatbox. Used:
Almost in every Experience track! like... Everybody in the Place Wind It Up
This machine can been seen in many Prodigy Experience videos and sometimes Liam uses it in live shows.
TC Electronic Finalizer 96K Mastering Processor Extreme High Quality Effects ... more
TC Electronic Finalizer 96K Mastering Processor Extreme High Quality Effects
The Finalizer 96K's all new set of advanced features and enhancements, including 96kHz internal and external processing truly puts the world of professional mastering within reach of every studio - large or small.
Inserted between the stereo output of your mixer or workstation and your master recording media, the Finalizer 96K dramatically rounds out your material, creating that "radio ready" sound -- previously unattainable outside a professional mastering house.
The first ever owner of The Phoenix was reportedly Liam Howlett! A twin ch... more
The first ever owner of The Phoenix was reportedly Liam Howlett!
A twin channel 'delta-mu' device. Compression ratio starts low and increases gradually so that compression can be subtle and natural, but compression effects can occur when driven hard. Very low noise. Continuously variable controls for Gain, Attack, Release, Threshold and Output Level. Stereo link for compressing a group (eg. drums) or a complete mix.
The Phoenix enhances vocals & individual instruments by being unobtrusive, gently 'warming' sounds and making solos sound more powerful. It's impressive on overall mixes & can give a digital mix 'reality'. It's also excellent for compression effects. Try drums with a 'thump' attack (i. e slowest) & fast release.
All valve design for greater presence and naturality. Completely free from solid state additives. Transparent compression. Punchy when pushed. Drive it hard for compression effects and distortion. Absolutely flat frequency response over entire audio range and beyond. Minimal phase shift giving a crisp and warm sound.
Max output level (MOL) +19dB into 600 ohms + 24dB into 10K ohms
Max Gain: 30dB
Total Harmonic Distortion: Better than 0.09% @ 1kHz (at no compression) 0.11% @100Hz
Noise, IEC weighted: 95dB below MOL
Input Impedance: 15k ohms
Frequency response: 0/-1dB 12Hz to 60kHz
Attack Time: 0.004 sec to 0.12 sec
Release Time: 0.06 sec to 2.2 sec
Output Impedance: 600 ohms
Distortion will increase with compression, typically 0.2% & 0.25% at 1kHz & 100Hz with 8dB compression.
hermionic Culture Vulture Stereo Liam Howlett was the very first customer to... more
hermionic Culture Vulture Stereo Liam Howlett was the very first customer to purchase a Phoenix compressor and Culture Vulture distortion from Unity Audio before the company established their distributor and dealer networks.
Liam Howlett from The Prodigy gets presented with his Culture Vulture Limited EditionOriginally designed as a "distortion box" to simulate distortion in valve amps it has found lots of uses beyond this. Some owners use them on drum loops, vocals, piano sounds and even across entire tracks (it is a stereo unit).
Predominant distortion can be changed from even to odd harmonics with a simple switch.
“Thermionic Culture has always been an important part of The Prodigy’s sound. The new Limited Edition Culture Vulture takes it to a new level of sonic devastation.” Key Features
Warm sounds gently or create a noise like a 200 watt guitar stack with all the drivers slashed. Independent channel operation
Odd or Even harmonic distortion, or combination of both. All valve design free from solid state additives. High impedance line input or instrument inputs. 4 & 7 kHz filters Overdrive & bypass switches
Culture Vulture Specifications:
Max output level (MOL): +20dBV Distortion: 0.2% to 99.9%. Noise: Variable better than 75dB below M. O. L at most settings Input Impedance: 30k Output Impedance: 2.5k ohm ( should ideally drive a 10k input impedance ) Frequency response: >1dB variation over 10Hz to 25kHz ( actually +/- 1.75dB over 50Hz to 15kHz at low distortion ) Used
You can clearly hear the Culture Vulture in action on the bass line in Thunder.
Gear info: The Alesis Quadraverb is a stereo effect unit that allows up to... more
The Alesis Quadraverb is a stereo effect unit that allows up to four digital effects to be used simultaneously (Reverb, Pitch Change, Delay, and EQ). The signal path is programmable, and many of it's parameters are accessible from real time controllers. The unit contains 100 programmable patches numbered from 0 to 99. 90 factory patches held in it's ROM may be called up at anytime individually or all at once.
Korg ES-1 - Electribe S Rhythm Production Sampler Liam's comment: "I've us... more
Korg ES-1 - Electribe S Rhythm Production Sampler Liam's comment: "I've used the ES-1 on stage and I've used the ER-1 on a couple of tracks on the new album. The ER-1 doesnt require much processing or EQing - it sounds f**king great straight out of the box. "
Sample and go! The ELECTRIBE·S is a new type of sampler that doesn't simply play back a recorded sound - it lets you aggressively process the samples to create your own signature sound. Play any sound or phrase in and use the pitch, filter and effects knobs to drastically alter the sample.
Slice loops with Time Slice Chop a sampled phrase or sound into pieces with the ELECTRIBE·S' Time Slice function. Time Slice detects the attacks of each part within a loop (e.g., bass drum, snare, and hi-hat), so that these parts can be massaged separately. You can also use the knobs to modify the tone of a phrase processed by Time Slice, creating complex patterns from a simple loop or phrase.
Realtime resampling With the resampling function, you can apply effects to a previously-recorded sample and then resample the result. You can even resample while modifying parameters such as pitch in realtime, and create even more new sounds with absolutely no deterioration in audio quality.
Instant rhythm creation Assign sampled sounds to up to ten parts, then use the step sequencer to create rhythm patterns. The step sequencer's sixteen pads divide a measure (or two measures) into sixteen parts. You decide where you want each sound to play by touching the desired keypads to create a pattern. And with the touch of a button you can add rolls or reverse playback for each part, so you can easily create highly complex rhythms that used to take ages to program in.
Add and change effects with the Motion Sequence function You're in complete control of sound alteration. With the Motion Sequence function, every tweak of a knob can be recorded as part of the rhythm pattern. Alter your tone at will on each part using one of the following parameters: pitch, filter, level, or pan. Then, with the Motion Sequence assign effect on/off, roll, and reverse playback for each part (all three can be recorded per part). Plus you can apply an Effect Motion Sequence (a motion sequence for effect parameters) and a Delay Motion Sequence to the entire pattern.
Radical sample processing In addition to a master delay effect, you get a built-in effects processor with eleven types of effects, that can be switched on/off for each part. The eleven types include basic effects such as Reverb and Flanger/Chorus, as well as unique effects like Decimator, Isolator, and Resonant Filter. Effect parameters can be edited using the knobs, and knob movements can be used as part of the rhythm pattern in the form of a Motion Sequence. The sound processed by the effects can also be sampled again. The internal memory of the ELECTRIBE·S can hold 128 user patterns. Combine up to 256 patterns/steps to create a song, which can be stored in one of sixteen internal song memories.
Store your data with Smart Media The ELECTRIBE·S provides a Smart Media slot for storing data. 3.3 V Smart Media ranging from 4 MB to 64 MB can be used to store your own sampled sounds, patterns and songs. The ELECTRIBE·S can also load AIFF and WAV files via Smart Media, allowing you to take advantage of sampled data stored on your computer.
The word is in The ELECTRIBES kick ass. Their thick, meaty analog sounds are making their own unique contribution to global mayhem. But we're not done with our radical donation to the rhythmic revolution. Introducing the ELECTRIBE·S, a sampler with a sound that is as fat and gritty as ever. And in true ELECTRIBE fashion, the ELECTRIBE·S is packed with tweakable knobs for extreme sound editing, and sixteen pad keys to program rhythm patterns and break beats.
Before Always Outnumbered was finished Liam told in several interviews that he has been using Electribes and the new album is going to be sounding quite electronic. Anyway all tracks were binned before the actual new album was released.
liam says:''SSL in the house , last tune mixed , bring the ruckus!'' more
liam says:''SSL in the house , last tune mixed , bring the ruckus!''
liam says:''Cant stop the rock! Hotel room studio in full effect'' more
liam says:''Cant stop the rock! Hotel room studio in full effect''
In this photo Liam using oxygen 49. more
In this photo Liam using oxygen 49.
is at the studio equipment of liam! more
is at the studio equipment of liam!
is in the studio equipment of liam! more
is in the studio equipment of liam!
"Yeah, I couldn't live without it. If Reason hadn't come along I would probab... more
"Yeah, I couldn't live without it. If Reason hadn't come along I would probably still be in my studio, depressed, going 'aww bloody 'ell, don't know what I'm gonna do', you know? I don't want to pat Propellerhead on the back too much, but... Reason has literally changed my life, getting me back in the studio and enjoying it all again. It's taken the monotony out of music making and put it into a format where music should be these days - no big deal, just something that should be fun to do. Creation is always painful, but this is the least painful way I know of." - Liam Howlett.